Nik and Reilly walk the curving hallway. The outside wall has a lamp every 10 feet near the ceiling. Each lamp has a deflector draped with vines, no water spots, no spider webs, no mess. The deflectors direct the light onto the curved ceiling so it disperses for even illumination. The outside wall is rounded, concave from top to bottom. The hallway offers a clear view for 300 feet before the curvature cuts off the view, like something one might find in a stadium with a narrow, perimeter walkway. It’s obvious Nik and Reilly are in a large construct or craft. They appear small in the 12 foot high walkway. The ceiling height isn’t what gives them the small appearance as much as the hanging MEs, the suits worn for protective functions, including real time to light speed translation. The suits are eight feet tall. Nik and Reilly hold hands like newlyweds, swinging their arms in time with the long strides they take, walking briskly in great anticipation. Both look about 25 years old, and in prime health. They pass doors on the inside wall that display different signs beside and over the doors, unusual symbols, like something taken from Ancient Egyptian Hieroglyphs. The two are almost childish, child-like, so anyone meeting them for the first time could not possibly know Nik is 156 years old and Reilly is 107 years old. The doors are 10 feet high and spaced irregularly. It is quiet in the hallway except for a low pitched hum that matches the frequency of the lamps. A fifth of the way around the perimeter of the craft a hallway cuts exactly 90 degrees to the middle of the craft. Nik and Reilly are familiar with it. Without hesitation or discussion they turn left, still holding hands. They stop talking as the chatter from the central control room is suddenly, slightly audible. An eight foot tall being walks past them. The being wears an ME, like those hanging in the halls and walkways of the craft. The MEs look heavy but have negligible weight, and shine bright white glowing around the hands, head, and feet. The brightness has a yellow hue emanating from gold rings around the wrists, neck, and ankles. The yellow glow is the source of brightness extending past the fingers, to envelop the whole hands. It also extends above the head and below the ankles to envelop the head and feet respectively, when activated. This shining one nods at the couple and moves swiftly to the outer walkway from whence Nik and Reilly started their charged hike.
Nik watches the activity in the central area where the control room is located. There are four shining beings, wearing similar suits as the one that passed in the hallway, sitting at control panels. The brightness of their suits is the same. The panels have no switches, no buttons, no visible control mechanisms. There are, however, nine large gem stones, about the size of the fists of these shining beings, each lodged individually in 12 shrines designed into the panels rising before each shining figure. Two gems reside in the row closest to the shining ones, three in the next row of four ledges, and four in the third row of six. Tones fill the open work space, most generated by the control panels. Other tones change and control the panel-generated harmonics and flashes on seven broad display panels. There are seven stations with seven panels, chairs, and seven sets of gems. Only four are occupied by shining, eight foot tall, beings. The ANUNNAKI control the perfect continual, tones, and volumes of the panel-generated harmonics with their own imperfect tones. To the un-experienced there is no audible distinction between the computer-generated tomes and those generated by the ANU.
The space is open but one can see bulkheads and sliding doors for sealing the central control space from outer parts of the craft. Each control station has overhead bulkheads that drop down to seal each individual station. There are bulkheads at the walkway to hallway junction and there are five hallways leading to the central control space. As Nik and Reilly approach the central control area a descending ramp is visible. A quick glance down the ramp in passing reveals activity, equipment and floating disks in a lower cargo area. The lower level extends beyond the size of the central control area. The ramps are about 125 feet from the central core. Hand rails around the ramp opening are ornate and wrapped in vines, completely contained in a line about six inches from the all sides if the rails. The halls to the control core are square, 16 feet wide, 12 feet high, with rounded corners up and down. The rounded corners make a bevel from which light pours, sound emanates, and openings for maintenance can be seen. Halfway from the outer walkway to the central control core the massive bulkheads are almost hidden, covered by vines again, perfectly contained. The transformation from cold metal to comfort is both abrupt and softened by the growth of vegetation at the bulkheads. The floors from the bulkhead to the control core are metal with a thick carpet of moss that perfumes the air and cools the hallway. There is no rust, no sign of over-growth, no evidence that the real moss isn’t completely contained. The control core appears to be about 100 feet in diameter. Baffles, flora, and earth-tone furnishings improve as the distance to the control core closes. But Nik and Reilly slow their pace 100 feet from the open area and stop. An archway of stone embedded in the metal construct, on their right, somewhat hidden by vines and other growth, catches their attention and they stop, then turn. Odd symbols, known to Nik and Reilly indicate Great Hall of EN.KI. There are no guards, no authority to check id, no officials. Nik waves his hand over a gem in a recess in the wall about four feet off the floor, Two doors slide open, and the pair enter. In a lavishly decorated garden room EN.KI of the Annunaki, also known as EA, or Eahwey, paces, conversing with another Anu, dressed in an ME. Nik and Reilly, the actress that never was, stop at the altar and announce themselves. EN.KI looks to their announcement and stops. Nik and Reilly wait for the nod and move to the podium. EN.KI walks to his judgement seat and sets his drink down. He turns, sits and waves to the other shining one. The other Anu steps back, turns and walks to an attached, protruding table hidden in a jungle of vines and flowers and decorated with various gems, an incomplete assortment of seven only. “How is TES.LA. and NIN.LA? What does mankind want? Without hesitation, revealing a friendship within formality Nik says, “EN.KI, we have a situation. The Adamu BRE.ENT has drifted to light speed, and is entering, I fear, a situation that could compromise his life force and our connection to earthkind.” EN.KI , with some personal interest asks, “Your BRE.ENT is in conflict? Deliverance is desired?”